May 21, 2026

Make Believe Ballroom - 5/22/26 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, a song about a woman in the military, listeners' emails about Louis Jordan and Bill Finnigan, the A and B side of a great Ray Noble 78rpm, and more records and reminiscences from the big band and jazz era.

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It's make Believe ballroom time.

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Put all your cares away.

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All the bands are here to bring good cheer your way.

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It's make belief ballom time and free to everyone. It's

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no time to friend your Dalis said Bambas. Close your

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eyes and visual lize in your solitude.

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Your favorite bands are on this dance.

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And mister Miller, but you're in the mood.

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It's make Believe ballroom time.

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We are a sweet romance.

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Is to make believe. Come on to the last dance last.

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Hello world, I'm Jeff Bresler, turning on the lights of

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the Make Believe Ballroom and welcoming you into my Crystal

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studio for another program of classic big band music from

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the nineteen thirties and forties. Please get ready as I

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play for you some amazing jazz, swing, blues, and boogie

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woogie favorites. Folks, you're listening to the Make Believe Ballroom,

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broadcasting almost continuously since nineteen thirty five, and to welcome. Welcome, Welcome,

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one and all into the Crystal Studio today. Thanks for

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joining me. I have a great show planned with some

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of the finest music ever recorded. Got some emails from listeners,

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great stories behind many of the records we play. That's

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our tried and true formula. So let's put that formula

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to the test with a fine recording.

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Twinkle Twinkle, Little Star, or how I wonder where you are?

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Where is the sun.

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Or clouds above me? Where are the birds that used

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two sins everything done?

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Or where is my song her love of me? Where

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is the one who.

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Said that she loves me God like the flowers that

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I used to bring everything done? Or where is the

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song her love?

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I love?

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How little devoted?

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Listen to my heart.

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Don't feel so mad thinking the moments up in there.

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Now, Mamma, you know that in my heart the troubles

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that we have made me.

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Baby Hoo can tell you listen.

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Neither to where is the sun or clouds?

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Number of men?

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Don't take the dream too recaclan.

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Where is the song?

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Or where is the song I love for mayful body?

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Fattiv Stuff Smith, his violin and his Onyx club Boys

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on Decca Records with Where is the Sun, Recorded on

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May the fourth, nineteen thirty seven, in New York City.

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Stuph Smith, one of jazz music's pre eminent violinists of

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the swing era. Let's go now from a pre eminent

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violinist to a pre eminent pianist. Then did you know

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that World War Two morale songs were not just written

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about men in the service but women also that after this.

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Say they pay?

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Then did me anything?

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A standard of the Big bandera Jersey Bounce performed hereby,

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and I think this is the first time I ever

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played the Bluebird record of Earl Hines and his Orchestra's

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version of the Big Band's standard, recorded back in nineteen

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forty one. Earl Hines and the Orchestra, I'm Jeff Presler.

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This isn't nineteen forty one, but this is the weekly

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edition of the Make Believe Ball Rome. During World War Two,

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most war related sentimental and morale boosting music reflected men

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overseas and the women waiting for them back home. But

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there were some songs that were written about women in

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the military service, and there were actually several songs about

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that fact. As women officially joined the ranks such as

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the WAX which were the I forget the Women's Army Corps,

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the wasps, the Women's Air Force Service pilots, and the

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waves women accepted for voluntary emergency service. Popular culture reflected

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that trend in the military. So let me play one

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of those songs for you now.

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Herst Class Private Very Brown. She wore that unaform like

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a million dollar gone all my heart wood lead when

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she drove her chief with the one big stride on

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her arm, And it seemed to me that the p

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f C stood for perfect feminine charge.

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Furst Class Private Very Brown.

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Oh how she smiled.

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Good by when they shift me on a.

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Let the big guns roar, Let me win.

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This war because I want to hurry right far.

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To first Class rival and marry Ron, my wonderful WI.

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First Class Private Mary Brown also known as PFC Mary Brown,

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World War two morale boosting song by the great composer

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Frank Lesser and recorded here by Clyde Lucas and his

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orchestra for the Budget Hit record label. Back in August

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of nineteen forty four. I'm Jeff Bresler, and you're listening

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to the one, the only, the original make Believe ball Room,

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A listener's email coming your way, shortly after a young

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Perry como.

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Years ago on before the radio.

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But now it's all rest of and so everybody called

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swings back nineteen you won't be back time was a novelty,

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but it's been modernized by see everybody called rhythm never

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changes much.

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It steals about the same, and those swingers are the same.

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It's the same old jazz.

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With a brand new name.

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It's use somebody count swing it brother, swing it out.

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It's rhythm that they're talking about.

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Everybody calls.

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Everyone calls it swing on the radio back in nineteen

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thirty six with a Perry Como vocal, and I would

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suspect that since Como started with the Ted Wims band,

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that was most probably the Ted Wims radio show he

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was singing on. So say, look at my playlist, let

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me play another Ted Williams. Then go back to that

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listener's email.

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Celebraten, Celebraten. Everybody comes and join the celebration. Meet the

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sweet one, the one I adore, Salute the sweet one.

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The party is born.

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Bring your girlfriends, bring your boyfriends.

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When the night and how happy we'll be.

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Then we'll have one final tones.

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To the one.

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I love them all celebrate in the fact she loves me.

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First question question Such nuestion question Question.

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Question Question.

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Question from Decca Records, recorded on May the fifteenth, nineteen

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thirty six, Ted Weims and his orchestra Celebraton Vocal by

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red Ingel and now, dear friends, the listener's email you

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can reach me if you would like to pen an

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email to me at Jeff at MakeBelieve Ballroomradio dot com.

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That's Jeff at MakeBelieve Ballroomradio dot com. And the listener

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in question is one Tom Migliore, and he writes, Hello Jeff,

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from one of your listeners, and I would like to

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request a song by Louis Jordan, perhaps Chew Chew Cheboogie

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or just like a woman. While he may not be

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a big band leader in the truest sense, he made

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a significant contribution to music during that era with his

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jump blues, and he made a bridge to rock and roll.

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Thanks a lot, I'll keep listening. Best regards, Tom, Well, Tom,

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thank you so much for your email and that request.

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I actually played Chew Choo Chiboogie a few weeks back.

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So I offer for you now your alternative selection from

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Louis Jordan. Just like a woman.

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That was adam happy as a man could be. Believe

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you've got a mess with that old apple tree.

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Heat that just like a woman.

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Heat that just like a woman.

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Yes, that's just like a woman. They'll do it every time.

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Locke took his wife down to the corner.

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Store for marta. She wouldn't mind a business part if

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she get solved.

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Eat that just like a woman.

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Ain't that just like a woman. Yes, that's just like

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a woman. They'll do it every time.

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Samson though Delara was on the spire the one now

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you clipped him for all his hair.

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He's that just like a woman. Yes, that's just like

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a woman. He't that just like a woman. They'll do

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it every time.

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Sure will.

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Yeah, from our history books, we'll learn that Nero fiddle

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while Rome was burned.

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Ain't that just like a woman.

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Ain't that just like a woman. Yes, that's just like

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a woman. They'll do it every time. Ma reacts on

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that met them hungry cats at the gate. They were

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crying for bread. She said, let him eat cake and

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eat that just like a woman. Ain't that just like

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a woman. Yes, that's just like a woman.

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They'll do it every time you buyy woman clothes and

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give her money on the side. No matter what you do,

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she's never satisfied. Ain't that just it's not a woman.

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Ain't that just like a woman?

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Yes? Not just not a woman.

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They'll do it every time.

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A number one rhythm and blues hit back in nineteen

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forty six on Decca Records, Ain't That Just Like a Woman?

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By Louis Jordan and his Timpani five, a song that

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was an early bridge to rock and roll. And while

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Louis Jordan, well, he didn't single handedly invent rock and roll,

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but he is universally recognized, I think is its grandfather,

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and certainly he was one of the most critical forces

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in laying its structural, rhythmatic and stylish foundation. So thank

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you Tom Migliore for that request and a great written

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introduction into Louis Jordan. And uh now for our wonderful audience,

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And Tom, how about one more from mister Jordan? Also

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the name of a popular past Broadway show.

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I want to tell you a story from way back.

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The truck on down and nig me Jack, that's big

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mottle mood Mo, No Mo, look at brother, look got brother,

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look at brother more.

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Mama, Mama, Mama, Mama, Mama, Mama, Mama.

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Who's the greatest band round? Makes the cats jump up

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and down? Who's the talk of rhythm town? Five guys

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name mo? When they start to beat it out. Everybody

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jumping shout. Tell me who do the critics rape about?

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Five guys Name Mo. They came out of nowhere and

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that don't mean a thing. They're red high and you'll

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know why when you get them swim high brown, little Brown.

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All agree they're the best harmonade. I'm telling you, folks,

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you really ought to see five guy's Name Mos.

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And the.

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Hand had they had.

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One guy Big Mo, two guys little bit Move, three

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guys bi Move, Full Guys No Move, five guys Eat Move,

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five little Guy Name Mo.

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Five Guys Named Mo by Louis Jordan and his Timpany

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five Vocal by Louie and Ensemble, recorded on Decca Records

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back in nineteen forty three. Now, this record was well

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in actuality. Was just a moderately popular record back in

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forty three, certainly a bouncy novelty song, but it was

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actually elevated to become one of Jordan's most famous numbers

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when its title was used for the hit Broadway and

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London stage musical of the nineties, Five Guys Named Mo,

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which featured many of the band's most well known songs. Again,

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thanks Tom for your email and again to reach me

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I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff

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at MakeBelieve Ballroom Radio dot com.

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There's many times.

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You and.

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From Vocalian records recorded in London, England, January the eleventh,

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nineteen thirty seven, Benny Carter and his orchestra with I'm

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in the mood for swinging. So many of you who

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may be asking what was Benny Carter, the legendary Swing

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era American jazz saxophonist, clarinetist. I think he also played

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the trumpet as well as composed, arranged, and as we

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just heard, a band leader. But what was he doing

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across the pond? Well, Benny had a historic and longstanding

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relationship with London and England, beginning in nineteen thirty six

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when he moved there to spend two years as an

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arranger for the BBC Big Band. He was celebrated from

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what I have read is Jazz Royalty in the UK,

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recording a ton of tunes with the top European musicians

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before he returned to America. The Great Benny Carter and

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now let's go back stateside. The nineteen thirty nine Metronome

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All Stars, the iconic swing standard Blue Loo was recorded

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by the Metronome All Stars for Victor Records on January

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the eleventh, nineteen thirty nine, in New York City. The band,

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as we have discussed in the past, the Metronome Band,

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was a dream team assembly of the absolute top giants

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of the swing era, as selected by the readers of

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Metronome Magazine, and on the recording we're about to hear,

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among others, Benny Goodman, Bunny Berigan, Harry James, Sonny Dunham,

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Tommy Dorsey, Jack t Garden, Bob Zerky. I think Heimi

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Scherzer was in that group, but those names at al

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So why don't we just spin it? Thinks Blue Lou

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Here on the Make Believe Ballroom and Friends. A quick reminder,

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if you'd like to hear past shows in this series,

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over two hundred and fifty of them, please go to

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Make Believe Ballroom dot com. That's MakeBelieve Ballroom dot Com.

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And now why don't they put up on the screen

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here in the Crystal studio. Another listeners email that reads

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and it's from Frank Longo. Stand by.

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Here.

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It is Hi, Jeff, I listen to Make Believe Ballroom

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on your flagship station WGMC Jazz ninety point one in Rochester,

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New York. One of the things I notice is that

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you mention arrangers as an afterthought. I'll try to correct

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that for you, miss de Longo. I was fortunate enough

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to have studied big band orchestration under Bill Finnigan back

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in the mid nineteen seventies, a skill I have not

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used in over forty years unfortunately, and knew he arranged

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for Tommy Dorsey back in the forties. Can you play

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some of the arrangements Finnegan did for Tommy as an aside.

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I became reacquainted with the Tommy Dorsey Orchestra in the

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nineteen eighties, with Buddy Morrow taking the baton and my

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very good friend Walt Andres as his vocalist. Unfortunately, Buddy

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has left us and Walt has been quite sick and

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has stopped performing. So for you, mister Longo, a Tommy

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Dorsey record from the late nineteen forties, with arrangement by

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one of your mentors, Bill finn again pushing Tommy Dorsey

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and his orchestra recorded their popular big band arrangement of

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the Continental that we just heard on December third, nineteen

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forty seven, in New York City, arranged by Bill Finn

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again and thanks for the email, mister Longo, and thanks

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for introducing the audience to the wonderful arranger Bill Finn

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again and once again to reach me. I'm Jeff at

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Make Believe Ballroom Radio dot com. That's Jeff at Make

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Believe Ballroom Radio dot com. And now my dear audience,

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early Andrew sisters when they were still, in my opinion,

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under the spell of the Boswell sisters in their singing style,

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Why talk about now?

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So much to be done? A word country be the

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way up be? They never ring through? What talk about

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now when I gives this so much fun? While waste

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time onwards?

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When I with.

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Thou this man will always recommend that aches be louder

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than word? But what's the use? We've no excuse? Let's

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and normal no holding more n it has just begun,

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Normal's higher ba one mans so much to be done?

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What should we talk about laha talk about love when.

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It's so much should be done? What should be talking

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about them when it gives is much more fun? What

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talk about them?

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But should be waste time? When we know that you

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are mama? Should we always waste time when it gives

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his thouse clime. No no, no, no no no. The

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worsest man will always recommend that actions be louder than word.

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So what's the use with no excuse? Let's say no more.

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Nothing more?

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Night has just begun.

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The moon is high off above, when there's so much

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to be done?

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Why should we should? We? Should we talk about love?

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The moon is also right.

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Stars are roun tonight.

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Come on and don't take your time.

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To tell me your mine was this?

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Men who longs recommend that actions because of the hemory.

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What's the use weed, no excuse? Let's say no more,

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no thing moo. Now it has just begun?

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And having up on.

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Mon money?

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What should we always always.

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About?

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Why talk about love? And Early Andrews Sisters recording on

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the Decalabel from October the fourteenth, nineteen thirty seven. Let's

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play another record?

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You sing my baby good night?

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It is such as we delve, he.

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But it's great after a.

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Days in my baby good Night. After he turns down

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the line do all mine.

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All my heart?

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I really don't you sing my baby good night?

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He says, you want to go?

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I know, I know I ought to go like Gid

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sir inside.

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One and two and three, and then a war fock,

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I see.

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Your last car passing by after just one more good

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night the trolley long now the fi I started then

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over again.

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Kissing my Baby good Night, Kissing my Baby good Night,

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a classic Swing era jazz song recorded by Duke Ellington

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and his famous orchestra, featuring the vocal by Duke's longtime

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vocalist Ivy Anderson. Let's see what we have here in

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the record beIN that I didn't get a chance to

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play last week. Let's see, well we heard Bunny Brigan

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earlier with the metronome all Stars perform Blue Blue. I

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have another Brigon I wanted to play on last week's show.

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Bunny bar Again and his orchestra recorded their famous nineteen

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thirty seven swing interpret You of Mahogany Hall Stomp for

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Victor Records on June the twenty fifth, nineteen thirty seven.

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Let me go now to check the clock to see

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how we're doing on time. If I don't stick to

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fifty eight minutes exactly, some of our radio affiliate hates

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around the country get heart palpitations. I don't feel like

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sending anyone to the hospital today, and no need for

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the ambulance. We can get our business done in the

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remaining seven minutes. Let's start with a swinger from Ray Noble.

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About a.

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Day Day Day Gayda.

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Definitely Chinatown, My Chinatown by Ray Noble and his Orchestra,

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recorded for Victor Records in nineteen thirty five, and well,

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why don't I flipped this record over to the B

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side for British born bandleader Noble, later to make his

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mark on the radio in America.

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Swinging, keep your fingers tap, swinging, anything can happen. Get

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started in Harlem, and then in a flash it traveled

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from Harlem Mount Park Avenue.

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Has taken the kid than swinging.

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Falling out a number, swinging, do it on the wrong buzz,

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They'll do it in London, They'll do it in Frankly,

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it's hot and smokey, hokey.

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Don't get that.

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To B side to Chinatown, My Chinatown by Ray Noble. Here,

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let's swing it Ray Noble and his Orchestra with a

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freshman from nineteen thirty five. A great record, both the

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A and B sides. See you all next week.